Theological Aspects of the Formation of the Theory of the Artistic Image in Byzantium IV—XIV Centuries.

Abstract

The subject of the research is the formation of the theological theory of the image in the church-artistic tradition of Christian art. The aim is to identify the main aspects of the formation of the theory of the image in the pre-Iconoclastic period based on the works of representatives of the Cappadocian school, Pseudo-Dionysius the Areopagite, Maxim the Confessor, John of Damascus, as well as after the approval of icon veneration, reflected in the works of Patriarch Gregory of Constantinople, Theodore the Studite, Simeon the New Theologian, Gregory Palamas and Patriarch Nikephoros. To trace how the influence of theological thought was reflected in Byzantine church art. To determine the specific features of the phenomenon of the iconographic image and to highlight the significance of its dogmatic foundations in religious art. In the study of the works of Byzantine theologians, historical and cultural analysis was used, which allowed a more holistic view of the worldview of the era in which they created, and the ideas they defended. The study allows us to conclude that for the defenders of icon worship, the "soil" was prepared by the great theologians of the Cappadocian school, who in turn converted and reinterpreted the Neoplatonic teachings of Plotinus, Pseudo-Dionysius the Areopagite, who transformed their ideas into a christocentric doctrine of salvation. The dogmatic ideas of the theologians influenced the change of the ancient art form, giving it a new content, which, in turn, can become an important criterion that helps to identify and evaluate genuine spirituality in the works of church art. The study of the theological theory of the image is an important element in determining the fidelity of the artistic transmission of the essence of the creed and understanding of the sacred content of medieval temple painting, as well as a necessary reference point for modern icon painters, allowing them to choose in their work a system of expressive means corresponding to theological dogmas.